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This is the page about the season 1 episode of The Patrick Star Show. For other uses, see 20,000 (disambiguation).

"Terror at 20,000 Leagues" is a The Patrick Star Show episode from season 1. In this episode, The Patrick Show! presents a Halloween TV special.

Characters[]


Synopsis[]

It's Halloween, and everyone is out decorating and trick-or-treating. The camera zooms into the Star house, where Patrick's family members are dressed up: Cecil is a werewolf and makes a cat meow rather than a wolf howl, GrandPat rides by wrapped in toilet paper, and Bunny (as the "Invisible Mom") dangles her clothes from a fishing pole, only to be caught naked. Squidina wakes up a "dead tired" Patrick, waking him up by waving a candy bar in his face. However, the candy is taken by the the Dartfish Family. Squidina tells him that, after Patrick starts the show, they will all go trick-or-treating.

Terror at 20,000 Leagues 042

Plankenstein and his minions watch TV.

Patrick goes on-camera and says that the candy and costumes are the most important part of the holiday. He is about to demonstrate how to make a costume from a pile of junk, but Squidina shows up in a clown outfit, chainsawing through the table. Patrick and Squidina hug, and the camera zooms out to SpongeMonster, Pat-gor, and Dr. Plankenstein watching on TV. Plankenstein criticizes that Halloween has become too watered-down and cutesy, and tells his minions about the "real Halloween." To prepare them for the horrors ahead, he shows them a cartoon called Granny Tentacles Pantry of Doom!

Terror at 20,000 Leagues 150

Patrick eats Granny Tentacles' voodoo dolls.

The segment takes place in an old village. Granny Tentacles, upset by how messy her house is, wants someone to clean it for her. She spies a villager Bunny painting clothes outside, and makes voodoo cookies in her cauldron. She uses the Bunny voodoo doll, and a pretzel stick that functions as a wand, to force Bunny to mow her lawn, makes Bubble Bass clean her windows, and then hypnotizes the rest of the townsfolk to do household chores for her. However, controlling everyone's dolls at once tires out her tentacles. She sees Patrick outside and tries to hypnotize him into massaging them for her. However, Patrick's head is literally empty, and the beam of energy ricochets around before launching back and hitting the voodoo doll itself. It comes to life and fights off Granny Tentacles. However, the real Patrick finds his way inside and begins eating all the voodoo dolls, reversing the spell's effects. Squidina uses the pretzel wand to hypnotize Granny Tentacles, making her bring lemonade and cookies to her family.

After the segment ends, a commercial for a zombie brain buffet called Famous Zed's plays. Patrick and Squidina come back to start trick-or-treating. The first house they stop by is Bubble Bass's, and he tries to steal their bags. He refuses to give them candy, and Patrick goes in to eat his Mermaid Man and Barnacle Boy collector's candy, making Bubble Bass cry.

Back with SpongeMonster and Pat-gor, "villagers" knock at the door. Plankenstein orders SpongeMonster to scare the them away, who turn out to be trick-or-treaters. He is scared by them and retreats, as the trick-or-treaters egg and toilet paper the house. While hiding, Plankenstein has his minions watch more TV.

Terror at 20,000 Leagues 253

The alien invader reveals itself.

Quasar: The Movie: Dark Side of the Spoon opens with Pat-Tron waking up Quasar and preparing breakfast for him. He then makes himself a bowl of Logic Loops, which cause him to short-circuit after eating. Quasar sees that the box contains a robot alien invader inside. Pat-Tron winds up a music box that makes the alien burst out of his chest. He mistakes it for being his own baby, and has Quasar feed it. He gives it a bite of his spoon, making it grow bigger. Pat-Tron gets a baby bottle full of oil, which the alien eats. It then spits up acid that partly disintegrates Quasar's suit. The alien chases Quasar around the ship, eating more items, until Quasar decides to open the airlock so they can send it into space. However, the alien has grown much larger, and sends Quasar out instead. Pat-Tron hugs it, only to be eaten. Floating outside, Quasar comments that he needs to get a new robot. After the movie, Madame Hagfish gives a commercial for her were-hair boutique.

After the movie, it cuts back to Pat-gor styling Plankenstein's hair: it looks like the Bride of Frankenstein's. Plankenstein does not like it because it reminds him of his ex-wife. As he chases him around, there is another knock at the door. Pat-gor goes to the top of the castle and microwaves a bowl of oatmeal to pour over the villagers. The people at the door turn out to be Patrick and Squidina, who stare in awe at SpongeMonster eating candy. Upset by Patrick and Squidina asking for candy, Plankenstein has Pat-gor dump the oatmeal on them. They try again, disguising as a single person in a trench coat to check their meter. Plankenstein lets them in and shows them a meter on SpongeMonster. Patrick hits him with a wrench repeatedly, as Squidina tries to grab candy. She catches Plankenstein and mistakes him for a jellybean, and Patrick eats him. Everyone gets stuck in the coat and runs around in panic. Finally, Plankenstein kicks them out.

Terror at 20,000 Leagues 381

Patrick and Squidina get back home.

Patrick sets a camera on a rock outside, and this same footage shows on Plankenstein's TV. He stretches out into their castle, but Plankenstein turns the remote off, sending Patrick backwards and into other shows. He appears in a horse-judging show, a painting show, an aerial dogfight, and then a game show. The host offers him a "mystery prize" or a jar of candy, but Patrick has already taken the candy. He takes the TV remote from the host's assistant and warps himself back outside his house, proudly showing off his candy to Squidina. As they eat candy in excitement, they try to go home, only for two realistic sea creatures to come out. They scream in horror and drop their candy, only for it to be Cecil and Bunny in costume. Bunny asks if they are trick-or-treating correctly, and Cecil says that they must be, since he got candy from every kid tonight. Bunny suggests saving some for their kids, but they both decide not to, returning into the house to eat their candy.

Plankenstein, Pat-gor, and SpongeMonster watch this scene on TV, realizing that they survived until midnight and survived Halloween. Just then, a commercial for Christmas trees shows up on TV, and three carolers come at their door. Plankenstein orders Pat-gor to prepare hot eggnog to dump on them, and Pat-gor complies. The French Narrator bids the viewers a merry Christmas, with the text showing up in a blood-red font.

Production[]

This episode was rough storyboarded in 2020.[9]

PS018 Clean 031221-1

The plussed storyboard for the second half of the episode was completed on March 12, 2021.

Images from this episode's stop-motion production process were taken on June 3 and June 24, 2021.[10]

40 minutes prior to episode's premiere, Robertryan Cory posted some wolf designs from the episode on Tumblr.[1]

TA2L prod swag

Production swag from Casey Follen.[11]

From Animation Magazine: "Los Angeles-based Screen Novelties produced the special, in which miniature puppets and sets bring the series and characters to life in three dimensions. They also produced two original Halloween-themed shorts for the series, which premiered last Friday.

It took two main stages and two ancillary stages running for several months to create the nearly 12 minutes of footage in "Terror at 20,000 Leagues."

Dr. Plankenstein’s castle is a sandcastle somewhere on the spooky outskirts of Bikini Bottom and the "forest" around the castle is made of those “drip castles” often made on the beach as kids.

The special features … oatmeal! It took about six different formulas to come up with visually satisfying, animatable oatmeal. Real oats were mixed with wax, classic "elementary school science project" slime, and other secret ingredients. Then the animation took days to accomplish, so it had to hold its shape for many hours at a time."[12]

From an interview with AnimationWORLD: "Nickelodeon’s The Patrick Star Show, "Terror at 20,000 Leagues" Halloween-themed special premieres today October 22 at 7 p.m. The show includes a series of stories featuring Patrick infiltrating the Planktonstein laboratory to steal some candy, a zombie brain buffet, werewolf hair boutique, and an alien attack, referencing Halloween classics like Aliens and The Bride of Frankenstein along the way. "We structure each episode to feel like you’re channel surfing through Patrick’s cracked imagination," explains Marc Ceccarelli, who co-executive produces the series with Vincent Waller and Jennie Monica. "It makes the show feel more like an animator’s playground. Especially for someone who loves gags and variety show styled sketches like we do."

"This show is a cartoonist’s dream gig," adds Waller. "The stories for The Patrick Star Show are more free form and I am elated we have so many different genres and styles to play with."

One of the many styles the team uses to celebrate the spooky season is stop-motion animation; Los Angeles-based stop-motion animation company Screen Novelties helped pair a textile world of puppets with 2D animation and live-action video. Screen Novelties also produced two original The Patrick Star Show Halloween-themed shorts as well as previous Christmas and Halloween specials for SpongeBob SquarePants.

"These characters are so fun in every way," says Seamus Walsh, co-founder of Screen Novelties with Mark Caballero and Chris Finnegan. “It makes animating them easier, because they already exude a kooky energy. But it is a real challenge to push and pull all of their proportions until they feel like appealing 'puppetized' versions of the characters we all know and love." The stop-motion segments, which connect the special's other 2D Halloween stories, show a Frankenstein-esque Plankton with his SpongeBob and Patrick monster creations watching television on a stormy night and hiding away from angry villagers on the hunt for candy.

"Doing segments in different animation styles helped sell the parodies of different genres," explains Ceccarelli. "We mostly designed the characters and backgrounds in these different segments to feel like different eras of TV animation. The sci-fi segments look like a cartoon, modern United Productions of America (UPA) style; the prehistoric segments were done in a desaturated crawling-line style; and we even did an episode meant to look like '70s psychedelic fantasy. For the 1940's horror segments, we decided that a tactile stop-motion style would work best."

"It was a really fun challenge to create a color palette that evoked old black-and-white films, but when you look closely, it's clear that it's actually color," adds Walsh. "We even get into things like the feeling you get from different textures and how those play into how you feel about the character. I love working with our puppet team on all of this and I think everyone did such a lovely job."

But the biggest challenges that both Screen Novelties and the 2D animation teams faced were the moments when 2D characters entered the stop-motion world, like unwelcomed trick-or-treaters who egg and toilet paper Planktonstein's[sic] lab, or a 2D Patrick Star who tries to climb through the laboratory television so he and sister Squidina can rampage the monsters' abode for sugary sweets.

Walsh described the production process for those scenes as a "choreographed dance between the 2D animators, the puppet animators, and the compositing artists."

"We had to do our animation at the same time as the 2D was being done," Walsh explains. "So, we isolated major poses from the boards, used them like cutouts and then made our own rough composites so that everyone was on the same page about how the interaction was going to work. If we get our dynamics right and blending well with the dynamics of the 2D, then it’s up to the compositing team to use their tricks to make it all feel harmonious. I’m always wowed by what they can pull off. It takes a special talent to make all this weird stuff feel like they’re living in the same world."

While the process sounds as chaotic as the scenes themselves, Walsh says it's all "part of the fun" and what makes the show feel like a giant improv show, even though the process is highly coordinated. "That scene, where Patrick leans into the stop-motion world via the TV screen, is so surreal and wonderful that it gave me goose bumps," says Waller. "It has really been a blast dancing on and even crossing the line between 2D and stop motion."

Both Waller and Ceccarelli say they're looking forward to more opportunities to incorporate stop-motion into The Patrick Star Show.

"There will definitely be more Planktonstein[sic] and Patgor shorts in the next batch of Patrick Star Show episodes," promises Ceccarelli. "They're our favorites and we love any opportunity to work with Screen Novelties."

And Walsh is just as game for the idea. "Anytime we can mix live-action puppets with the stop-motion, I love it, because your brain starts to sort of question what's being thrown at it," says Walsh. "Seeing the two mediums interact does something to your imagination."[13]

From an interview with The Beat:

"Taimur Dar: How much of the production for The Patrick Star Show was done before the pandemic and were there any hiccups working on the show remotely?

Vincent Waller: Most of the development happened in the studio. Once we were in production we were pretty much locked down.

Marc Ceccarelli: We have a pretty well-oiled machine. We’ve been doing SpongeBob for over 20 years. I’m not really surprised but we didn’t have any hiccups at all with the lockdown. If anything they got more work out of us.

In the old days when we were at the studio, you’d have to go across the building to each new meeting. Then each meeting would take about 15 minutes to get started. Now you hang up on one meeting and push the button to start the next meeting.

Dar: Animators figured out pretty quickly how to work from home during the pandemic but obviously that’s not possible for stop motion animation. What did the production entail for you and Screen Novelties for these segments and this Patrick Halloween Special?

Seamus Walsh: It’s funny because stop motion animation is already notorious for being slow because you’re animating puppets frame by frame. The pandemic made it a little more difficult because we have a crack team of people that all work really well together and a lot of times we get on the stage at once. The art department is setting up all the props and dressing the set while the animator and I are discussing all the action and the lighting crew is also in there because we’re trying to be as efficient as possible to create stop motion in a timely manner. The pandemic did make that harder because now the art department has 15 minutes in there, then lighting, etc. and so it had all had to be broken. But we got it into a pretty good groove after a few weeks.

We would have multiple stages set up at any given time. We could bounce back and forth if it was getting too crowded in one stage. A stop motion stage is pretty small, usually about a 10-foot by 20-foot little area. We usually take one bigger sound stage and break it up into these little black boxes where you can control the light on a frame-by-frame basis. All in all, it was nice to get back to production again. We had all the safety protocols in place and no one got sick while we were shooting. We’re kind of somewhere between animation production and live-action production.

Dar: These Dr. Plankenstein stop motion segments lend themselves perfectly to a Halloween episode. Were they created with the intention for a Patrick Star Halloween special, if not how did they develop?

Waller: Not just for the Halloween show, we created it to be part of the show ongoing. Any chance we get to work with Screen Novelties we always bend over backward to try to find something they can sink their teeth into.

Ceccarelli: We’ve done the SpongeBob Christmas Special and we also did the SpongeBob Halloween Special. Those were some of the most fun experiences that I’ve had. Going to their studio and getting to see all the models and doing the same approval process that we have with our 2D show. As somebody who grew up watching Ray Harryhausen movies, any excuse we get to go down that stop motion path we do. It seems like stop motion lends itself to that creepy Halloween vibe. We’ve used them a lot in that subject matter.

Dar: Was the lead time for producing these segments shortened due to the pandemic?

Walsh: This one was a little bit shorter mainly because we were concentrating on the three characters and there weren’t background or ancillary characters to worry about. So it was a little bit scaled-down overall so we’re able to build everything fairly quickly. We have translated all the Bikini Bottom characters before but this was a new interpretation. We were able to use a lot of our old tricks in terms of translating the 2D characters into these appealing-looking puppets. Sometimes a character that looks good in 2D takes a while to find their dimensional form that exudes the energy they do in 2D.

It’s a very challenging part of the process but we really like it. It was really cool to take what we had learned from making the first Patrick puppet who’s just a really fun puppet to work with and make him this Igor version of Patrick. He has this hunchback and we had to move his head into a completely different area than it usually is from the puppet we made before. It was condensed and there was a lot to figure out but I think everything we had learned from doing them before helped make this new build go fairly quickly.

Ceccarelli: We have a certain budget for the stop motion segments and we just have to figure out strategically how to make them work within that budget. We’ll have a segment in one episode and another segment in another episode. We kind of write them that way across the whole season so it feels like they’re plugged into the whole show.

Dar: These new segments are in black and white invoking that old-school horror vibe and you actually painted the puppets in various shades of grey as opposed to filming it in black and white. I’m reminded of the challenges that the WandaVision production team encountered when they were filming those early black and white episodes, so were there any difficulties for you and Screen Novelties?

Walsh: That was really fun and something that we had been wanting to play with for a while. The first time we spoke with Vincent and Marc about these episodes we all immediately said, “We’re doing this in black and white, right?” Everyone was super excited. We briefly considered shooting it in black and white but then we thought there could be some fun to have it feel black and white but sneak little bits of color in. It does make it harder especially with stop motion. These models have a lot of detail on them. The black and white can get challenging if you don’t have different colors to help separate characters from the background. But we just went through and Alicia our painter get a lot of testing on this and did a great job on it. We were playing with warmer colors for all the backgrounds and cooler colors and grays on the foreground characters to help separate them.

Back in the days of black and white television, if you look at color photos from behind-the-scenes of the old Addams Family show which was black and white but things are painted all these bizarre colors. Some of the background things are painted pink or this baby blue color because the art direction knew what things were going to read well once they were photographed in black and white. It’s pretty fascinating. All that kind of knowledge is lost for the last 60 years because of color television. So we’re kind of going back to that. We do like to experiment with monochromatic and complimentary colors. In a way, it was similar to that but this was an extra level of trying to simplify and use lighting to create separation between characters and background. It just helps the animation read better if there’s not a lot of extra detail.

Dar: During my press junket interview with the Patrick Show voice actors we discussed the Pee Wee’s Playhouse vibe of The Patrick Star Show. Is that indeed an influence?

Ceccarelli: That was definitely a big influence on a lot of the people on the show. In our writers’ room, one of our head writers Kaz was part of the production group. I know he did some packaging artwork for some of the products that they made for that show. He knew all those guys. He was in RAW magazine with Gary Panter who designed Pee Wee’s Playhouse. We have that weird connection. It just felt like creativity with the lid off like anything goes. A big smorgasbord of different weird creative ideas. We were trying to key into that kind of feeling. There’s a lot of other shows that were influences like The Ernie Kovacs Show. We grew up with The Carol Burnett Show. Back in the ‘70s, it seemed like there were a lot more variety shows back then.

Waller: There were like three a night. Cher, Jim Stamford, anybody you could think of.

Ceccarelli: Even if you look at Nickelodeon’s history it started in the ‘80s with You Can’t Do That on Television. They always seemed to have a variety show in their pipeline so I feel like we’re carrying on that tradition in our own sort of weird way.

Dar: The Patrick Show received an additional 13 episode order to the first season. Will we see more of these stop motion segments?

Walsh: I believe they want to consider doing Patgor and Dr. Plankenstein segments. I think we did over the course of the season. We got a lot of footage in the Patrick Star Halloween special. I think over the course of the season we did maybe 10-12 minutes worth of footage. So I’m hoping we did more chances to explore these characters. There’s more cool things we can do with the lab and dungeon and the turrets. We got glimpses of those in the first season but there’s all this unexplored territory. The way the 2D world comes in and invades the 3D world was just so fun and a fun challenge. I hope we get to delve deeper into the sandcastle, so to speak.

Ceccarelli: Oh yeah definitely.

Waller: We use several different genres and completely different drawing styles throughout the season. It’s just another tool in the toolbox that we love.

Dar: Finally, what’s the challenge in juggling three different SpongeBob shows (the main show, Kamp Koral, and The Patrick Star Show), and how does each differ?

Waller: They’re all fun! [Laughs]. It was definitely easier when we were leapfrogging doing SpongeBob, Patrick, Koral. And now we’re doing SpongeBob, Patrick, Koral all at once!

Ceccarelli: Each of the shows is structured slightly different. I think that keeps it interesting and exciting for us, especially in the writers’ room. The SpongeBob and Kamp Koral episodes are a bit more traditional 3-act story structure. When we knew were going to have to do another spinoff with the Patrick Show, just for our own sanity we decided to go down a route where the story wasn’t quite as important. It was more about the digression and that variety show format. It made the episodes more gag-centric. While the other shows were always trying to find excuses to write simply and pile on the comedic gags, this made it even easier for us to do that. We didn’t have to service the story.

Waller: The Patrick Show is a cartoonist’s dream gig. To quote [animator] Sherm Cohen, “I love on the Patrick Show! More please!” [He] realized the story is more free-form and you’ve got a style change halfway through the storyboard. It just really keeps your mind active. You’re definitely not bored."[10]

From SYFY Wire: "Throughout Season 1 of The Patrick Star Show, each of the episodes have featured special mini sequences exploring all kinds of animation styles. Screen Novelties, a Los Angeles-based stop-motion animation production company, have produced two of those stop-motion sequences and this Halloween special sequence.

Seamus Walsh of Screen Novelties tells SYFY WIRE that the stop-motion technique particularly lends itself to these Halloween segments because of its “raw and chaotic” feel. “It can add a rambunctious edge to the storytelling,” he explains. “As a medium it doesn’t affect the story, per se, but it has a distinctive, dreamlike quality that heightens the scenario.”

Adding that it’s been an honor to bring Patrick, SpongeBob and their pals to stop-motion life, Walsh says that The Patrick Star Show particularly lends itself to experimentation and anarchy. “That frees us up to add our weird spin on the puppets," he explains. "It was such an awesome challenge to reinvent these iconic characters in our style, while still remaining true to their spirits. We’re proud of how they turned out and hope the fans will dig it.”[14]

Promotional art[]

Patrick-Star-Halloween-Feature

Promotional art for the episode.

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More promo art for the episode, featuring the Star family as pumpkins.

Model sheets[]

  • By Zach Heffelfinger[2][15] and Robertryan Cory.[1]

Art[]

Background design[]

  • Layouts by "Nickelodeon designers," painted by Brad Sutton.[16]

Storyboards[]

  • Directed by Jeff DeGrandis[17] and Dave Cunningham, rough boarded by Brian Morante,[5][9] work from Chris Evans and Screen Novelties, plussed by Christian White,[3][18] April "Pinkie" Davis,[19] Ian Vazquez,[20] Simon Edwards, and Zaven Leonetti and revisions by Eliza Herndon[5] and Brad Vandergrift.[21]
    • Plussed boards for Granny Tentacles' voodoo charades can be found on White's website.
    • The first minute of the second half of this episode's revised storyboards can be found on Herndon's website.

Stop-motion work[]

Production notes[]

Ian Vazquez:

  • Vazquez said "[this] was a real fun one to do and STILL such a unique privilege to be sculpted in stop-motion by Screen Novelties!"[8]
  • Vazquez said that Patrick's unbalanced costume movements were the most fun and difficult thing to do, saying that they had to be "THAT convincing." He stated that "Pat threw himself into the part didn't take into account that Squidina, is in fact, tiny."[24]
  • Vazquez said he was glad that Squidina "looking like an oblivious doofus staring at the camera" stayed in the final version of the episode.[25]
  • Vazquez stated "Indignant Pat using his Big TV Star Cred to be a tough guy was very fun to draw. And [he wasn't] saying that because [he's] afraid Pat could buy my job with his big Basic Cable paycheck."[26]
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  • Vazquez thought that this storyboard drawing of Patrick entering Dr. Plankenstein's stop-motion realm may have been a bit much, but believed that no one else agreed, since it was retained in the final product.[27]
  • For Vazquez, Bob Ross styled-Patrick was an interesting one to draw, despite only being in the episode for mere seconds. He stated that he's been a fan of Ross since he was little watching PBS, and wanted Patrick to look as similar to the painter as possible, watching various episodes of Ross' show for guidance. He hopes that the Patrick presented in the show is at least "somewhat there!"[28]
  • In the original rough boards of this episode, it was not specified what the game show characters should've been, other then not making them fully live action. Vazquez had the idea of doing realistic fish heads and pitched it by doing half the scenes with them, with was successful - surprised that the crew went with it.[20]

Eliza Herndon:

  • Herndon stated that this was "This episode was the biggest artistic learning experience I've ever had and I couldn't ask for a greater introduction to the crazy Spongeverse,"[5] with this being the first SpongeBob-related project they've worked on. She made various comments about the production of this episode:
    • "I had no professional experience at all, didn't know basic boarding terms or how to make a camera move, and I drew all of these [storyboards] sitting on my bed w/ a touchscreen laptop. I'm INCREDIBLY grateful for Dave's guidance, he taught me all about hook-ups, clarity/contrast in poses, etc."[29]
    • "Plankton's always been one of my favorite characters, so I really lucked out getting to work with him! The folks at Screen Novelties did such a FANTASTIC job, my jaw is still on the floor! It's so, SO cool seeing how these [boards] translated into puppet form!"[30]
    • "The painting sequence turned out GREAT! So much fun movement and I really love how they handled SB's face protruding through the painting, as well as the painting as a whole. I would spend my life's savings for a Patgor Original."[31]
    • "I wasn't expecting the kids to be animated in 2D, so that got a good gasp out of me!! Dave had the idea of bringing them in from "Legends of Boo-kini Bottom" and it worked out great. The straight ahead, googly eye stare on the Barnacle Boy mask makes me laugh every time I see it."[32]
    • "Many of these [storyboard] drawings make me cringe now, but there are still some I like and I'll never get over how stellar of a job the Screen Novelties crew did! It was also an absolute treat getting to work with Brian's INCREDIBLY funny boards. I laughed a LOT while working on this!"[33]
    • "And finally, a piece of Spongemonster butt action that didn't make it through all the way to accommodate the staging. Drawing my first butt was like a rite of passage into the world of cartooning."[34]
    • "I am SO fortunate for Dave Cunningham bringing me on and being such an incredible mentor, as well as the entire crew for being so supportive. It means so much that everyone would take a chance on someone like me with 0 experience whatsoever; it's not something I take for granted!"[35]

Zach Heffelfinger:

  • Zach said that he "had a blast working on these designs", and that they "definitely put [him] in the Halloween spirit!"[2]

Robertryan Cory:

  • Cory on the episode's werewolf designs: "All these werewolves were inspired by Mighty Ones/Harvey Beaks writer Dani Michaeli. Many years ago Dani and I pitched a werewolf cartoon and I listened to him explain his werewolf fandom to me over many long months. I really tried to make something that would excite werewolf fans. My goal is to always design something that inspires and excites and understanding other people's passions I think is part of the job that is underrated."[1]

Music[]

 ) Production music
 ) Original music
 ) SpongeBob music

  The Curious Cabin - Ego Plum [Opening]
  Going Maracas! (A) - Richard Myhill [Squidina wakes up Patrick]
  Shuffle A La Carte - Tony Tape [The Patrick Show's Halloween special]
  Spooky Antics Revisited - Ego Plum [SpongeMonster and Pat-gor laughing at the TV]
  The Creature (a) - Gregor Narholz ["Say it isn't so, master!"]
  Brücke 1 - Gerhard Trede ["Oh, Halloween is a terrible night."]
  Horror Cue 1 A - Gregor Narholz ["No! Not our candy!"]
  The Creature (a) - Gregor Narholz ["If we're going to survive the night..."]
  Showpizz A - Otto Sieben [Puppies on TV]
  King of the Giants C - John Fox, Otto Sieben ["Granny Tentacles: Pantry of Doom"]
  Medieval Landscape - Umberto Santucci [Granny Tentacles grabs the newspaper from her lawn]
  Jolly Clarinet - Ilan Harel ["My house is a mess. I can't live like this anymore!"]
  Tricks and Traps - James McConnel [Granny Tentacles makes a potion]
  ? [Granny Tentacles curses villagers to do her work]
  Steel Licks 28 - Jeremy Wakefield [Granny Tentacles's tentacles are red]
  Tricks and Traps - James McConnel [Granny Tentacles notices Patrick]
  ? [Granny Tentacles tries to curse Patrick]
  Tricks and Traps - James McConnel [The curse ricochets back at the doll of Patrick]
  ? [The doll comes to life and bites Granny Tentacles]
  Straight From Hell A - Gregor Narholz [The doll throws items at Granny Tentacles]
  Night Out - Tommy Reilly, James Moody [The doll pulls out a banana]
  Straight From Hell A - Gregor Narholz [The doll throws the axe at Granny Tentacles]
  Night Out - Tommy Reilly, James Moody [Patrick eats the doll]
  Jaunty Joe - Tommy Reilly, James Moody [The curses are undone as Patrick eats the dolls]
  Drama Link (B) - Hubert Clifford [The villagers turn against Granny Tentacles]
  Skippin' It - Robert Franchi [Granny Tentacles serves drinks under the curse]
  Mountain Dew (A) - Graham Preskett [Famous Ed's commercial]
  Comic Capers C - Charlie Brissette, Norman Mamey ["Brains!"]
  The Curious Cabin - Ego Plum ["Oh, hey there!"]
  Sneeky - Gregor Narholz [Patrick and Squidina trick-or-treat at Bubble Bass's house]
  Shock (F) - Dave Hewson ["My vintage Mermaid Man and Barnacle Boy collector's candy!"]
  Funeral Music - Gabriel Faure, Alfred Kluten [Bubble Bass starts crying]
  Galleon - Sam Fonteyn [Patrick spits out a ball of chewed candy]
  ? [Patrick drops the ball of candy]
  Kitsch Latin Cool - Malcolm Lockyer [Bubble Bass cries again]
  Drama Link (G) - Hubert Clifford ["The villagers master! They found us!"]
  Planet Xz-3 - Gregor Narholz [Dr. Plankenstein encourages SpongeMonster to scare off the villagers]
  Clumsy A - Bernd Gesell [Pat-gor shows his painting]
  Planet Xz-3 - Gregor Narholz ["There. That's you, that's them, and this is us cheering you on."]
  The Creature (a) - Gregor Narholz [SpongeMonster scares the trick-or-treaters]
  No Questions Asked (A) - Gregor Narholz ["I couldn't do it. The villagers are too scary."]
  ? ["Quasar, the Movie: Dark Side of the Spoon"]
  Space Age Swingers A - Wendie Colter, Willie Aron [Pat-Tron is excited for breakfast]
  ? ["Logic Loops. Free prize inside..."]
  ? [Pat-Tron turns a crank on his body]
  Halloween Antics (A) - Kevin Riepl [Robot alien invader pop's out of Pat-Tron]
  Box Melody - Leo Nissim ["I'm a mommy!"]
  Halloween Antics (A) - Kevin Riepl [Robot chases Captain Quasar]
  Box Melody - Leo Nissim ["Now now, baby! No biting the captain."]
  Halloween Antics (A) - Kevin Riepl [Robot goes back to chasing Captain Quasar]
  Six Powerful Cues A - Wilfred William Burns [The robot has grown to massive size]
  Box Melody - Leo Nissim ["My baby, you're safe!"]
  Mostly Ghostly (a) - John Rowcroft [Madame Hagfish's Were-Hair Boutique commercial]
  Millionaire (b) - Junkie Dred, James Foster, Karen O'Neill, George Shilling, The Music Makers [Madame Hagfish's Were-Hair Boutique commercial]
  Spooky Antics Revisited - Ego Plum [Pat-gor gives Dr. Plankenstein a haircut]
  Evil Wizard [#53.2] - Udi Harpaz ["Quickly, Pat-gor. Battle stations!"]
  Clumsy C - Bernd Gesell [Patrick and Squidina at the door]
  ? [SpongeMonster eating candy]
  Clumsy C - Bernd Gesell ["Okay. This is the last house in the neighborhood..."]
  Evil Wizard [#53.3] - Udi Harpaz [Pat-gor pours the oatmeal]
  Droopy - Arthur Wilkinson [Patrick eats the oatmeal]
  War Statement 10 - Laurie Johnson ["That candy will be ours!"]
  Drama Link (G) - Hubert Clifford [SpongeMonster, Pat-gor, and Dr. Plankenstein hide behind the couch]
  Bumbling B - Bernd Gesell [Patrick and Squidina in a trench coat]
  ? [Squidina grabs Dr. Plankenstein, thinking he is candy]
  Panic Patrol - Kenny Graham [Patrick eats Dr. Plankenstein]
  Dramatic Episode 2 - Kurt Rehfeld [Patrick records himself]
  Sports and Games - Gerhard Narholz [Patrick at a dog show]
  Cocktail - Johnny Patrick ["And right here, just for us, we're gonna paint a little candy."]
  Doom Threat - Dick De Benedictis [Patrick swirls into the TV.]
  Battle Stations - Joseph Engleman [Patrick in a fighter plane]
  Jet Generation - Sammy Burdson [Patrick on a game show]
  Doom Threat - Dick De Benedictis [Patrick escapes the TV.]
  One Zero Zero - Harry Brueber, Jean-Jacques Perrey [Patrick and Squidina eat candy]
  ? [Christmas time after Halloween]

Release[]

Trivia[]

General[]

  • This episode was originally called "Nightmare at 20,000 Feet."[8]
    • It is also listed as "Terror at 1080p" on Christian White's website.[3]
  • Fred shouts "My brain!," which is a reference to the my leg! running gag.
  • Even though this aired before "The Yard Sale," it was the second The Patrick Star Show special to start production. However, the second part of "The Yard Sale" began production after this episode.
  • Following "Mall Girl Pearl," "Don't Wake Patrick," and "A Cabin in the Kelp," this is the fourth episode in which Karen appears without Plankton, as well as the first episode of The Patrick Star Show to do that.

Episode references[]

  • Dr. Plankenstein getting a popcorn piece in his eye could be a callback to "Stair Wars," when Pat-gor eats his popcorn too fast and gets one in Dr. Plankenstein's eye.
  • The kids who trick-or-treated in Mermaid Man and Barnacle Boy costumes in "The Legend of Boo-Kini Bottom" return in this episode, trick-or-treating and subsequently throwing toilet paper at Dr. Plankenstein's castle.[32]

Cultural references[]

Terror at 20,000 Leagues 368

Patrick as Bob Ross.

  • One of the channel surfing scenes includes Patrick depicted as late public television personality Bob Ross painting a picture.


Errors[]

  • When Dr. Plankenstein opens the door for Patrick and Squidina, Patrick's eyebrows are missing.

Videos[]

Names in other languages[]

Language Name Meaning
Spanish (American) 20,000 Ligas de Terror 20,000 Leagues of Terror
Spanish (European) Terror a 20,000 leguas submarinas Terror at 20,000 Leagues Under the Sea

References[]

  1. ^ a b c d e f Robertryan Cory on Tumblr - "All these werewolf designs were..."
  2. ^ a b c Zach Heffelfinger on Instagram - "If you haven't..."
  3. ^ a b c Storyboards | Christian White
  4. ^ Ian Vazquez on Twitter - "BOOOOOOOO!!!! It's..."
  5. ^ a b c d Eliza Herndon on Twitter - "Thread o' board..."
  6. ^ Storyboards | Eliza Herndon Art
  7. ^ a b Nick Animation on Instagram - "Bringing you behind the scenes..."
  8. ^ a b c d e Ian Vazquez on Instagram - "BOO!!! Here's my work on..."
  9. ^ a b c Brian Morante on Twitter - "Last year I boarded..."
  10. ^ a b c INTERVIEW: Get a behind-the-scenes peek at the production of the Patrick Star Halloween Special! - The Beat: The Blog of Comics Culture
  11. ^ Casey Follen - 2021: The Patrick Star Show
  12. ^ a b Nickelodeon Animation on Twitter - "Behind the scenes..."
  13. ^ a b The Monstrous Stop-Motion of ‘The Patrick Star Show’s Halloween Special | AnimationWORLD
  14. ^ a b EXCLUSIVE: PATRICK & SPONGEBOB GO RETRO FOR HALLOWEEN IN SPOOKY NEW 'THE PATRICK STAR SHOW' CLIP - SYFY WIRE
  15. ^ Zach Hefflinger on Instagram - "This halloween is looking..."
  16. ^ BS Illustrations - Sutton Illustrations: Background Paintings
  17. ^ Dave Cunningham on Twitter - "Actually, Jeff DeGrandis supervised..."
  18. ^ Christian White on Instagram - "Here's some storyboard panels..."
  19. ^ April "Pinkie" Davis on Instagram - "Zombie Bubble Bass..."
  20. ^ a b Ian Vazquez on Twitter - "In the rough..."
  21. ^ Dave Cunningham on Twitter - "I was fortunate..."
  22. ^ Exclusive Clips: Nickelodeon Scares Up New ‘Rugrats’ & ‘Patrick Star’ Specials for Halloween - Animation Magazine
  23. ^ The Patrick Star Show "Terror at 20,000 Leagues" - BSCkids
  24. ^ Ian Vazquez on Twitter - "This was both..."
  25. ^ Ian Vazquez on Twitter - "I am so glad..."
  26. ^ Ian Vazquez on Twitter - "Indignant Pat..."
  27. ^ Ian Vazquez on Twitter - "When I drew this..."
  28. ^ Ian Vazquez on Twitter - "Bob Ross Patrick..."
  29. ^ Eliza Herndon on Twitter - "I had no..."
  30. ^ Eliza Herndon on Twitter - "Plankton's always been..."
  31. ^ Eliza Herndon on Twitter - "The painting sequence..."
  32. ^ a b Eliza Herndon on Twitter - "I wasn't expecting..."
  33. ^ Eliza Herndon on Twitter - "Many of these..."
  34. ^ Eliza Herndon on Twitter - "And finally..."
  35. ^ Eliza Herndon on Twitter - "I am..."

Notes[]

  1. ^ Also listed as "PAT017" in the segment's storyboards, and simply "017" in its model sheets.
  2. ^ Also listed as "PAT018" in the segment's storyboards, and simply "018" in its model sheets.
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